| Photos (see all 11 | slideshow) | Videos (see all 7) |
| Robert McNamara | ... | Himself | |
| rest of cast listed alphabetically: | |||
| Fidel Castro | ... | Himself (archive footage) (uncredited) | |
| Barry Goldwater | ... | Himself (archive footage) (uncredited) | |
| Lyndon Johnson | ... | Himself (archive footage) (uncredited) | |
| John F. Kennedy | ... | Himself (archive footage) (uncredited) | |
| Nikita Khrushchev | ... | Himself (archive footage) (uncredited) | |
| Curtis LeMay | ... | Himself (archive footage) (uncredited) | |
| Errol Morris | ... | Interviewer (voice) (uncredited) | |
| Richard Nixon | ... | Himself (archive footage) (uncredited) | |
| Harry Reasoner | ... | Himself - TV interviewer (archive footage) (uncredited) | |
| Franklin Delano Roosevelt | ... | Himself (voice) (archive footage) (uncredited) | |
| Woodrow Wilson | ... | Himself (archive footage) (uncredited) | |
Directed by | |||
| Errol Morris | |||
Produced by | |||
| Julie Ahlberg | .... | producer | |
| Robert Fernandez | .... | co-producer | |
| Jon Kamen | .... | executive producer | |
| Adam Kosberg | .... | associate producer | |
| Jack Lechner | .... | executive producer | |
| Robert May | .... | executive producer | |
| Errol Morris | .... | producer | |
| Ann Petrone | .... | associate producer | |
| Frank Scherma | .... | executive producer | |
| John Sloss | .... | executive producer | |
| Michael Williams | .... | producer | |
Original Music by | |||
| Philip Glass | |||
Cinematography by | |||
| Robert Chappell | (director of photography) (interviews) | ||
| Peter Donahue | (director of photography) | ||
Film Editing by | |||
| Doug Abel | |||
| Chyld King | |||
| Karen Schmeer | |||
Production Design by | |||
| Ted Bafaloukos | |||
| Steve Hardie | |||
Set Decoration by | |||
| Liz Chiz | |||
Makeup Department | |||
| Donyale McRae | .... | makeup artist | |
| Maria Scali | .... | makeup artist: interviews | |
Production Management | |||
| Tonya Bertram | .... | production supervisor | |
| Brad Fuller | .... | post-production supervisor | |
| Sarah Gold | .... | production supervisor: China | |
| Dia Sokol | .... | production supervisor | |
| Ben Schneider | .... | production supervisor: Berlin shoot (uncredited) | |
| Ronald Vietz | .... | production manager: Germany (uncredited) | |
Second Unit Director or Assistant Director | |||
| Lennie Appelquist | .... | first assistant director (uncredited) | |
Art Department | |||
| Jennifer Ho | .... | art department coordinator | |
| Steve McNulty | .... | art director: interviews | |
| Gary Shartsis | .... | property master | |
| Daniel Turk | .... | construction coordinator (as Dan Turk) | |
| Jim Utter | .... | leadman | |
Sound Department | |||
| Coll Anderson | .... | supervising sound editor | |
| Dan Bora | .... | additional sound engineer | |
| Stephen Bores | .... | production sound mixer: interviews (as Steve Bores) | |
| Brian Bowles | .... | dialogue editor | |
| Hector Castillo | .... | recording engineer | |
| Lee Dichter | .... | sound re-recording mixer | |
| Sean Garnhart | .... | sound effects editor | |
| Harry Higgins | .... | sound recordist | |
| Terrance Laudermilch | .... | sound recordist (as Terry Laudermilch) | |
| Ichiho Nishiki | .... | technical assistant | |
| Tom Paul | .... | sound designer | |
| Christian Rutledge | .... | production assistant: sound department | |
| Marilyn Teorey | .... | assistant sound editor | |
| Sean Garnhart | .... | sound re-recording mixer (uncredited) | |
| Daniel Perlin | .... | sound effects editor (uncredited) | |
Visual Effects by | |||
| Robin Hobart | .... | visual effects supervisor | |
| Zachary Morong | .... | 3D animator | |
| Evan Olson | .... | animator | |
| Evan Olson | .... | visual effects | |
Animation Department | |||
| Tom Karras | .... | coloring assistant | |
Costume and Wardrobe Department | |||
| Eddie Marquez | .... | wardrobe | |
| Critter Pierce | .... | wardrobe assistant | |
| Julie Vogel | .... | wardrobe | |
Editorial Department | |||
| Eric Alvarado | .... | digital intermediate colorist | |
| Steven Hathaway | .... | associate editor | |
| Peter Heady | .... | on-line editor: HDTV | |
| Fred Heid | .... | color timer | |
| Danny Hogan | .... | assistant to editor: HDTV (as Dan Hogan) | |
| Dan Mooney | .... | associate editor (as Daniel Mooney) | |
| Benjamin Murray | .... | digital intermediate titling | |
| Charles Silver | .... | editorial consultant | |
| Tricia Wilk | .... | post-production assistant | |
Music Department | |||
| Cat Celebrezze | .... | associate music producer | |
| Don Christiansen | .... | producer: CD soundtrack | |
| Jim Keller | .... | executive music producer | |
| John Kusiak | .... | composer: additional music | |
| Kurt Munkacsi | .... | music producer | |
| Ichiho Nishiki | .... | music assistant | |
| Michael Riesman | .... | musical director | |
Other crew | |||
| Christian Akers | .... | production assistant | |
| Jamie Anschultz | .... | production assistant | |
| Heidi August | .... | production accountant | |
| Sarah Belanger | .... | intern | |
| Kara Bilof | .... | studio manager | |
| James Blight | .... | special advisor | |
| Paul Brennan | .... | production counsel: Sloss Law Office | |
| John Cefalu | .... | location manager | |
| Karen Corsica | .... | production coordinator: interviews | |
| Jeff Crocker | .... | research assistant | |
| Matthew Davey | .... | laser film recording: Arri | |
| Christopher Fadale | .... | technical supervisor: interviews (as Chris Fadale) | |
| Joe Harley | .... | intern | |
| Kevin Hayes | .... | production coordinator | |
| Peter Heady | .... | io data editorial | |
| Paul Hu | .... | photo: McNamara and Nguyen Co Thach | |
| Jeff Huston | .... | laser film recording: Arri | |
| Claire Jones | .... | research assistant | |
| Chris Kasick | .... | assistant to director (as Chris 'Ox' Kasick) | |
| Dan Kemp | .... | location manager | |
| Katherine Kim | .... | intern | |
| Jason Kohn | .... | research assistant | |
| Alexandra Kreuter | .... | graphics supervisor (as Alex Kreuter) | |
| Jeff Krulik | .... | research assistant | |
| Janet Lang | .... | special advisor | |
| John Latenser V | .... | location manager | |
| Paul Loram | .... | research assistant | |
| Justin Milner | .... | intern | |
| Nico Muhly | .... | assistant: Philip Glass & Michael Riesman | |
| Ann Petrone | .... | archival research supervisor | |
| Dina Marie Piscatelli | .... | production coordinator | |
| Luke Poling | .... | production assistant | |
| Andy Rice | .... | research assistant | |
| Justin Rice | .... | assistant to director | |
| Ben Schneider | .... | assistant to production | |
| Julia Sheehan | .... | special advisor | |
| John Sloss | .... | production counsel: Sloss Law Office | |
| Tim Spitzer | .... | executive producer: HD & data services | |
| Shawn Tabor | .... | military consultant | |
| Shawn Tabor | .... | research assistant | |
| Joe Violante | .... | coordinator: Technicolor | |
| Jared Washburn | .... | office production assistant | |
Thanks | |||
| James Blight | .... | acknowledgment: archival footage and photographs provided by | |
| Tim Bono | .... | special thanks | |
| John Canaday | .... | special thanks | |
| Jonny Cranson | .... | special thanks | |
| Frances Fitzgerald | .... | special thanks | |
| Ellen Fitzpatrick | .... | special thanks | |
| Chris Florio | .... | special thanks | |
| Deborah Fortson | .... | special thanks | |
| Jane Gillooly | .... | special thanks | |
| Harvey Goldberg | .... | in memory of: University of Wisconsin history professor | |
| Alfred Guzzetti | .... | special thanks | |
| Peter Hall | .... | special thanks | |
| Alison Harris | .... | special thanks | |
| Steven Harris | .... | special thanks | |
| Paul Jankowski | .... | special thanks | |
| Caroline Kaplan | .... | very special thanks | |
| Alice Kelikian | .... | special thanks | |
| Craig McNamara | .... | acknowledgment: archival footage and photographs provided by | |
| Craig McNamara | .... | special thanks | |
| George L. Mosse | .... | in memory of: University of Wisconsin history professor | |
| Jamie Mylar | .... | special thanks | |
| Tom O'Malley | .... | special thanks | |
| Kenn Rabin | .... | special thanks | |
| Deborah Ricketts | .... | special thanks | |
| Ron Rosenbaum | .... | special thanks | |
| Jay Rubin | .... | special thanks | |
| Elizabeth Sadoff | .... | special thanks | |
| Jonathan Sehring | .... | very special thanks | |
| Gary Stern | .... | special thanks | |
| Rosemary Taylor | .... | special thanks | |
| Kathryn Tucker | .... | special thanks | |
| Patricia Vanderbeek | .... | special thanks | |
| Lawrence Waschler | .... | special thanks | |
| Lewis D. Wheeler | .... | special thanks (as Lewis Wheeler) | |
| Bonnie Willette | .... | special thanks | |
| Kyla Wilson | .... | special thanks | |
| Dino Zervos | .... | special thanks | |
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| Thirteen Days | Fail-Safe | 68 | Why We Fight | JFK |
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If you possess an especially smug view of history's finality, this film may not do a great deal to impress you. For the rest of us, however, Errol Morris presents a truly complex picture of a clearly complex man.
Many of the reviews I read of the film complain that there doesn't seem to be a main point that emerges from the film or its eleven "lessons," which are admittedly too cute by half in many cases. The point, though, is the complexity itself. The point is that history is bigger than its main players, and inscrutably difficult to judge in a definitive moral sense. I don't think I will ever forget McNamara's probing, clearly emotional questioning of the rules of war or the lack thereof, when he discusses how one evening he and general Curtis LeMay decided to burn to death 100,000 people in the Tokyo firebombing. The portrait of McNamara, as well as the two presidents he served, is one of human beings through and through, with all the fallibility and conflictedness that entails. The central quandary of war emerges for the viewer to see: it is the business of killing people, and that means that mistakes cause people to die needlessly.
As I said, this film, taken in the right spirit, is deeply challenging. I would recommend it to anyone who has grappled with the enormity and awfulness of the history of the twentieth century.